Chart Week: November 9, 1985
Song: “You Belong To The City” – Glenn Frey
Chart Position: #4, 9th week on the chart. Peaked at #2 for two weeks.
The fall of 1985 was one of those proverbial Big Times in my life.
I was a freshman in high school, which brought all kinds of new excitement and perils each day.
The Royals got hot late in the season, came back from two 3–1 post-season deficits, and won the World Series for the first time ever.
My mom and stepdad, who got married that August, bought a house that we moved into over the first weekend of November. After over 14 years in apartments, townhomes, and duplexes, this was the first detached home I lived in.
Big stuff.
Bigger than all of that, though, might have been my obsession with Miami Vice, which reached its peak as the second season of the show debuted and its soundtrack became the best selling album in the country. I believe I bought the cassette the week it came out and faithfully listened to it multiple times each day after school. I know I’ve shared this before, but there was a moment when I thought I would never need to buy another album again. I would just listen to the music from Miami Vice over-and-over until the end of time. Where would this site be if I had stuck to that plan?
The biggest single from the album was Jan Hammer’s “The Original Miami Vice Theme,” which spent a week at #1. It is still a banger, even if it became an Eighties, Yuppie cliché. I’ll crank that shit all the way up any time I hear it.
Glenn Frey placed two tracks on the soundtrack. “Smuggler’s Blues,” a song that first appeared on his 1984 solo album The Allnighter, served as the basis for MV episode 16 of season one. Frey even appeared in that show as the titular smuggler. Made sense to drop that tune onto the soundtrack.
He also wrote an original song for the program, “You Belong To The City,” which was used as the centerpiece musical moment within season two’s premiere episode. In that two-hour “movie event,” Sonny Crockett and Ricardo Tubbs traveled to Tubbs’ old stomping grounds of New York City to help the DEA track Colombian drug dealers who had murdered several undercover cops in Miami. The gritty, dark visuals of NYC were a stark contrast to the bright, tropical pastels of Miami that made the show stand out. Frey’s music was supposed to add to that shift in aesthetic.
At age 14, I ate this shit up. I freaking loved this song, from its smoky sax to Frey’s depiction of how the big city can dominate a person’s life. It made me want to put on a linen jacket, smoke cigarettes, and have complicated relationships with women who spent hours teasing their hair into gravity-defying styles.
And probably drink a Michelob. This may have been the launching point for that mini-genre of late Eighties music that seemed crafted explicitly to be used in beer commercials.
Anyway, I was INTO this shit in the fall of ’85. I listened to it while I helped pack up the duplex my mom and I had lived in for five years and then as we settled into our new home. I listened to it while reading summaries of the Royals’ playoff run. I listened to it while shooting hoops. I listened to it while doing homework. My life had nothing in common with what Frey was singing about. That didn’t stop me from forming a tight bond with his music.
I decided to write about this song both to do a quick review of that fun fall and to introduce a new sub-category for songs in this series: Songs I Used To Love But Think Fucking Suck Today.
Probably too long a description, right? I’ll workshop it and tighten it up before I use it again.
That smoky sax comes across as cheesy now. The lyrics are nearly as clichéd. It feels like Frey (RIP, by the way) was trying to reach for something big when he wrote this. However, he came up woefully short and ended up with a bunch of words that seem hopelessly basic compared to what he was trying to conjure up. Go read the lyrics. They just look dumb. I will admit, the chorus isn’t terrible. There’s some drama and emotion in those sections. But otherwise I always think of it being more a tool to sell me some lifestyle than a truly interesting song.
OK, maybe saying it fucking sucks is a little harsh. It is certainly of its era, for better and worse. Today I can hear it and chuckle, shaking my head at memories of my high school freshman self trying desperately to carve out some kind of cool identity just as I was going through my most awkward phases. It is truly shocking that I could not approach a fraction of the hipness of Crockett or Tubbs. Their Florida style just did not translate to a skinny kid with glasses in Missouri who preferred to not be the center of attention.
Frey was trying to translate their coolness, too. He did succeed in delivering a memorable track that fit the vapidness of Miami Vice. That meant it aged poorly, though, and those of us who loved the record as it climbed the Hot 100 quickly relegated it to the recesses of our music collections. Much like we soon hung those linen jackets in deepest corners of our closets. 4/10
It was soooo Eighties to have two different videos for “You Belong To The City.” One featured shots from the show, mostly Don Johnson walking around and smoking, cut with shots from around New York City. The other basically substitutes Frey for Johnson, and throws in a mystery lady for added drama.